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Per KirkebyOhne TitelÖl auf Leinwand 210 x 140 cm. Gerahmt. Rückseitig auf der Leinwand signiert und

In Moderne und Zeitgenössische Kunst - Evening Sa...

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Per KirkebyOhne TitelÖl auf Leinwand 210 x 140 cm. Gerahmt. Rückseitig auf der Leinwand signiert und
Das Auktionshaus hat für dieses Los keine Ergebnisse veröffentlicht
Köln

Per Kirkeby
Ohne Titel

Öl auf Leinwand 210 x 140 cm. Gerahmt. Rückseitig auf der Leinwand signiert und datiert 'PER KIRKEBY 1977'. - Mit leichten Altersspuren.

PK 8 (Archivnummer der Bilder von Per Kirkeby im Archiv der Galerie Michael Werner, Köln und New York)

Provenienz
Galerie Michael Werner, Köln; Privatsammlung Johannes Gachnang, Bern (jeweils mit rückseitigem Aufkleber) (1998); Privatsammlung, Nordrhein-Westfalen

Ausstellungen
Karlsruhe 2000 (Städtische Galerie), Per Kirkeby, Die Karlsruher Jahre, Ausst.Kat.Nr.2, S.74 mit Farbabb.
Bern 1979 (Kunsthalle), Per Kirkeby, Ausst.Kat.Nr.37, o.S. mit Farbabb. (mit rückseitigem Aufkleber)

Literatur
Poul Erik Tøjner, Per Kirkeby, Malerei, Köln 2003, S.104 mit Farbabb.

Per Kirkeby ist sowohl Künstler als auch Naturwissenschaftler, sein Studium der Geologie, seine Reisen und seine Affinität zur Natur schlagen sich vielfältig in seinem künstlerischen Schaffen nieder. Realistische Naturmotive klingen in seinen Gemälden an, gehen aber so nahtlos in abstrakte Strukturen über, dass sie für den Betrachter kaum fassbar sind. Vermutet man ein figürliches Motiv, einen Baum, einen Felsen, ein Tier, zu erkennen und sich in Erwartung weiterer derartiger Erkenntnisse tiefer in das Werk hineinzusehen, so verflüchtigt sich jede Gewissheit sogleich wieder. Das vermeintlich Erkannte transformiert sich bei intensiver Betrachtung zurück in abstrakte Gefüge aus Linien und Flächen. So scheinen sich aus dem hier angebotenen Gemälde vegetative Elemente herauszuschälen, junge Bäumchen und Sträucher bilden das Unterholz einer Waldlichtung vor einem winterlich grauen Himmel, Schneereste bedecken den Boden, ein überdimensioniertes Tier scheint im Vordergrund zu hocken, einen Augenblick später sieht sich der Betrachter jedoch wieder einem rein abstrakten Geflecht aus vielfältig übereinandergesetzten Strichlagen gegenüber.
Kirkeby sieht sich selbst ausdrücklich nicht als Landschaftsmaler: „Es gibt ja zwei Begriffe, die ich hasse im Umgang mit meiner Arbeit. Der eine ist ‚Landschaft' und der andere ist ‚Kolorist' … Ich habe das immer gehasst. Denn ich bin ja ein Großstadtkind. Ich habe nie so ein besonderes ‚Ach-welch-wunderschöne-Aussicht-Verhältnis' zur Landschaft gehabt. Landschaft ist für mich eine ganz bestimmte historische Kategorie, ein bestimmtes Klischee, das man immer verlassen kann, von dem man etwas benutzen oder nicht benutzen kann.“ (Per Kirkeby, zit. nach: Poul Erik Tøjner, Per Kikeby, Malerei, Köln 2003, S. 44). Natur bedeutet für den Künstler in erster Linie „Stofflichkeit und Materialität“, wie Poul Erik Tøjner an dieser Stelle weiter ausführt (a.a.O.). Kirkeby schafft keinen perspektivischen Naturraum, seinen Bildern haftet nichts Idyllisches an. Es gibt keinen Horizont und kein Panorama, stattdessen senkt und verengt er den Blick und führt den Betrachter mitten hinein in das undurchdringliche Gestrüpp und den Morast einer gänzlich unromantischen, aber intensiven Naturerfahrung.
Per Kirkeby
Untitled

Oil on canvas 210 x 140 cm. Framed. Signed and dated 'PER KIRKEBY 1977' verso on canvas. - Minor traces of age.

PK 8 (archive number of the works by Per Kirkeby in the archive of Galerie Michael Werner, Cologne and New York)

Provenance
Galerie Michael Werner, Cologne; private collection Johannes Gachnang, Bern (each label verso); private collection, North Rhine-Westphalia

Exhibitions
Karlsruhe 2000 (Städtische Galerie), Per Kirkeby, Die Karlsruher Jahre, exhib.cat.no.2, p.74 with colour illus.
Bern 1979 (Kunsthalle), Per Kirkeby, exhib.cat.no.37 with colour illus. (label verso)

Literature
Poul Erik Tøjner, Per Kirkeby, Malerei, Cologne 2003, p.104 with colour illus.

Per Kirkeby is an artist as well as a natural scientist. His studies in geology, his travels, and his affinity with nature are manifoldly reflected in his artistic work. Realistic themes of nature are discernible in his paintings but merge so seamlessly into abstract structures that they are barely tangible for the viewer. Should one suppose to recognise a figurative motif, a tree, a rock, an animal, and then, upon delving deeper into the work in anticipation of further such insights, all certainty immediately disappears again. The presumed recognition is transformed back into an abstract structure of lines and surfaces upon intensive observation. Vegetative elements appear to crystallise out of the painting on offer here, young trees and shrubs form the undergrowth of a forest clearing against the background of a wintery grey sky, remnants of snow cover the ground, an oversized animal seems to be cowering in the foreground, a moment later, however, the observer is again confronted with a purely abstract network of manifold superimposed layers of brush strokes.
Kirkeby explicitly did not see himself as a landscape painter: “There are two terms that I detest in the dealings with my art. One is 'landscape' and the other is 'colourist'... I have always detested this. After all, I am a city kid. I have never had a particular 'oh-what-a-beautiful-view-relationship' to landscape. For me, landscape is a very specific historical category, a certain cliché that one can always abandon, of which one can implement something or not implement anything.” (Per Kirkeby, as cited in: Poul Erik Tøjner, Per Kikeby. Malerei, Cologne 2003, p. 44). For the artist, nature first and foremost signified “substantiality and materiality” as Poul Erik Tøjner explains further at this point (loc. cit.). Kirkeby did not create a perspective natural space, nothing idyllic adheres to his paintings. There is no horizon and no panorama. Instead, he lowers and constricts the gaze luring the viewer into the midst of the impenetrable undergrowth and morass of a completely unromantic but intense experience of nature.

Per Kirkeby
Ohne Titel

Öl auf Leinwand 210 x 140 cm. Gerahmt. Rückseitig auf der Leinwand signiert und datiert 'PER KIRKEBY 1977'. - Mit leichten Altersspuren.

PK 8 (Archivnummer der Bilder von Per Kirkeby im Archiv der Galerie Michael Werner, Köln und New York)

Provenienz
Galerie Michael Werner, Köln; Privatsammlung Johannes Gachnang, Bern (jeweils mit rückseitigem Aufkleber) (1998); Privatsammlung, Nordrhein-Westfalen

Ausstellungen
Karlsruhe 2000 (Städtische Galerie), Per Kirkeby, Die Karlsruher Jahre, Ausst.Kat.Nr.2, S.74 mit Farbabb.
Bern 1979 (Kunsthalle), Per Kirkeby, Ausst.Kat.Nr.37, o.S. mit Farbabb. (mit rückseitigem Aufkleber)

Literatur
Poul Erik Tøjner, Per Kirkeby, Malerei, Köln 2003, S.104 mit Farbabb.

Per Kirkeby ist sowohl Künstler als auch Naturwissenschaftler, sein Studium der Geologie, seine Reisen und seine Affinität zur Natur schlagen sich vielfältig in seinem künstlerischen Schaffen nieder. Realistische Naturmotive klingen in seinen Gemälden an, gehen aber so nahtlos in abstrakte Strukturen über, dass sie für den Betrachter kaum fassbar sind. Vermutet man ein figürliches Motiv, einen Baum, einen Felsen, ein Tier, zu erkennen und sich in Erwartung weiterer derartiger Erkenntnisse tiefer in das Werk hineinzusehen, so verflüchtigt sich jede Gewissheit sogleich wieder. Das vermeintlich Erkannte transformiert sich bei intensiver Betrachtung zurück in abstrakte Gefüge aus Linien und Flächen. So scheinen sich aus dem hier angebotenen Gemälde vegetative Elemente herauszuschälen, junge Bäumchen und Sträucher bilden das Unterholz einer Waldlichtung vor einem winterlich grauen Himmel, Schneereste bedecken den Boden, ein überdimensioniertes Tier scheint im Vordergrund zu hocken, einen Augenblick später sieht sich der Betrachter jedoch wieder einem rein abstrakten Geflecht aus vielfältig übereinandergesetzten Strichlagen gegenüber.
Kirkeby sieht sich selbst ausdrücklich nicht als Landschaftsmaler: „Es gibt ja zwei Begriffe, die ich hasse im Umgang mit meiner Arbeit. Der eine ist ‚Landschaft' und der andere ist ‚Kolorist' … Ich habe das immer gehasst. Denn ich bin ja ein Großstadtkind. Ich habe nie so ein besonderes ‚Ach-welch-wunderschöne-Aussicht-Verhältnis' zur Landschaft gehabt. Landschaft ist für mich eine ganz bestimmte historische Kategorie, ein bestimmtes Klischee, das man immer verlassen kann, von dem man etwas benutzen oder nicht benutzen kann.“ (Per Kirkeby, zit. nach: Poul Erik Tøjner, Per Kikeby, Malerei, Köln 2003, S. 44). Natur bedeutet für den Künstler in erster Linie „Stofflichkeit und Materialität“, wie Poul Erik Tøjner an dieser Stelle weiter ausführt (a.a.O.). Kirkeby schafft keinen perspektivischen Naturraum, seinen Bildern haftet nichts Idyllisches an. Es gibt keinen Horizont und kein Panorama, stattdessen senkt und verengt er den Blick und führt den Betrachter mitten hinein in das undurchdringliche Gestrüpp und den Morast einer gänzlich unromantischen, aber intensiven Naturerfahrung.
Per Kirkeby
Untitled

Oil on canvas 210 x 140 cm. Framed. Signed and dated 'PER KIRKEBY 1977' verso on canvas. - Minor traces of age.

PK 8 (archive number of the works by Per Kirkeby in the archive of Galerie Michael Werner, Cologne and New York)

Provenance
Galerie Michael Werner, Cologne; private collection Johannes Gachnang, Bern (each label verso); private collection, North Rhine-Westphalia

Exhibitions
Karlsruhe 2000 (Städtische Galerie), Per Kirkeby, Die Karlsruher Jahre, exhib.cat.no.2, p.74 with colour illus.
Bern 1979 (Kunsthalle), Per Kirkeby, exhib.cat.no.37 with colour illus. (label verso)

Literature
Poul Erik Tøjner, Per Kirkeby, Malerei, Cologne 2003, p.104 with colour illus.

Per Kirkeby is an artist as well as a natural scientist. His studies in geology, his travels, and his affinity with nature are manifoldly reflected in his artistic work. Realistic themes of nature are discernible in his paintings but merge so seamlessly into abstract structures that they are barely tangible for the viewer. Should one suppose to recognise a figurative motif, a tree, a rock, an animal, and then, upon delving deeper into the work in anticipation of further such insights, all certainty immediately disappears again. The presumed recognition is transformed back into an abstract structure of lines and surfaces upon intensive observation. Vegetative elements appear to crystallise out of the painting on offer here, young trees and shrubs form the undergrowth of a forest clearing against the background of a wintery grey sky, remnants of snow cover the ground, an oversized animal seems to be cowering in the foreground, a moment later, however, the observer is again confronted with a purely abstract network of manifold superimposed layers of brush strokes.
Kirkeby explicitly did not see himself as a landscape painter: “There are two terms that I detest in the dealings with my art. One is 'landscape' and the other is 'colourist'... I have always detested this. After all, I am a city kid. I have never had a particular 'oh-what-a-beautiful-view-relationship' to landscape. For me, landscape is a very specific historical category, a certain cliché that one can always abandon, of which one can implement something or not implement anything.” (Per Kirkeby, as cited in: Poul Erik Tøjner, Per Kikeby. Malerei, Cologne 2003, p. 44). For the artist, nature first and foremost signified “substantiality and materiality” as Poul Erik Tøjner explains further at this point (loc. cit.). Kirkeby did not create a perspective natural space, nothing idyllic adheres to his paintings. There is no horizon and no panorama. Instead, he lowers and constricts the gaze luring the viewer into the midst of the impenetrable undergrowth and morass of a completely unromantic but intense experience of nature.

Moderne und Zeitgenössische Kunst - Evening Sale

Auktionsdatum
Ort der Versteigerung
Neumarkt 3
Köln
50667
Germany

Für Kunsthaus Lempertz Versandinformtation bitte wählen Sie +49 (0)221 9257290.

Wichtige Informationen

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AGB

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Conditions of Sale

1. The art auction house, Kunsthaus Lempertz KG (henceforth referred to as Lempertz), conducts public auctions in terms of § 383 paragraph 3 sentence 1 of the Civil Code as commissioning agent on behalf of the accounts of submitters, who remain anonymous. With regard to its auctioneering terms and conditions drawn up in other languages, the German version remains the official one.

2. The auctioneer reserves the right to divide or combine any catalogue lots or, if it has special reason to do so, to offer any lot for sale in an order different from that given in the catalogue or to withdraw any lot from the sale.

3. All lots put up for sale may be viewed and inspected prior to the auction. The catalogue specifications and related specifications appearing on the internet, which have both been compiled in good conscience, do not form part of the contractually agreed to conditions. These specifications have been derived from the status of the information available at the time of compiling the catalogue. They do not serve as a guarantee in legal terms and their purpose is purely in the information they provide. The same applies to any reports on an item’s condition or any other information, either in oral or written form. Certificates or certifications from artists, their estates or experts relevant to each case only form a contractual part of the agreement if they are specifically mentioned in the catalogue text. The state of the item is generally not mentioned in the catalogue. Likewise missing specifications do not constitute an agreement on quality. All items are used goods.

4. Warranty claims are excluded. In the event of variances from the catalogue descriptions, which result in negation or substantial diminution of value or suitability, and which are reported with due justification within one year after handover, Lempertz nevertheless undertakes to pursue its rights against the seller through the courts; in the event of a successful claim against the seller, Lempertz will reimburse the buyer only the total purchase price paid. Over and above this, Lempertz undertakes to reimburse its commission within a given period of three years after the date of the sale if the object in question proves not to be authentic.

5. Claims for compensation as the result of a fault or defect in the object auctioned or damage to it or its loss, regardless of the legal grounds, or as the result of variances from the catalogue description or statements made elsewhere are excluded unless Lempertz acted with wilful intent or gross negligence; the liability for bodily injury or damages caused to health or life remains unaffected. In other regards, point 4 applies.

6. Submission of bids. Bids in attendance: The floor bidder receives a bidding number on presentation of a photo ID. Lempertz reserves the right to grant entry to the auction. If the bidder is not known to Lempertz, registration must take place 24 hours before the auction is due to begin in writing on presentation of a current bank reference. Bids in absentia: Bids can also be submitted either in writing, telephonically or via the internet. The placing of bids in absentia must reach Lempertz 24 hours before the auction to ensure the proper processing thereof. The item must be mentioned in the bid placed, together with the lot number and item description. In the event of ambiguities, the listed lot number becomes applicable. The placement of a bid must be signed by the applicant. The regulations regarding revocations and the right to return the goods in the case of long distance agreements (§ 312b-d of the Civil Code) do not apply. Telephone bids: Establishing and maintaining a connection cannot be vouched for. In submitting a bid placement, the bidder declares that he agrees to the recording of the bidding process. Bids via the internet: They will only be accepted by Lempertz if the bidder registered himself on the internet website beforehand. Lempertz will treat such bids in the same way as bids in writing.

7. Carrying out the auction: The hammer will come down when no higher bids are submitted after three calls for a bid. In extenuating circumstances, the auctioneer reserves the right to bring down the hammer or he can refuse to accept a bid. If several individuals make the same bid at the same time, and after the third call, no higher bid ensues, then the ticket becomes the deciding factor. The auctioneer can retract his acceptance of the bid and auction the item once more if a higher bid that was submitted on time, was erroneously overlooked and immediately queried by the bidder, or if any doubts regarding its acceptance arise. Written bids are only played to an absolute maximum by Lempertz if this is deemed necessary to outbid
another bid. The auctioneer can bid on behalf of the submitter up to the agreed limit, without revealing this and irrespective of whether other bids are submitted. Even if bids have been placed and the hammer has not come down, the auctioneer is only liable to the bidder in the event of premeditation or gross negligence.

8. Once a lot has been knocked down, the successful bidder is obliged to buy it. If a bid is accepted conditionally, the bidder is bound by his bid until four weeks after the auction unless he immediately withdraws from the conditionally accepted bid. From the fall of the hammer, possession and risk pass directly to the buyer, while ownership passes to the buyer only after full payment has been received.

9. Up to a hammer price of € 400,000 a premium of 24 % calculated on the hammer price plus 19 % value added tax (VAT) calculated on the premium only is levied. The premium will be reduced to 20 % (plus VAT) on any amount surpassing € 400,000 (margin scheme). On lots which are characterized by N, an additional 7 % for import tax will be charged. On lots which are characterized by an D, 35% is calculated on the hammer price (24% buyer´s premium + 19% VAT on the premium only + import tax). 31% is calculated on the amount surpassing € 400.000. The D objects contain all taxes, and tehy can not be carried away immediately. On lots which are characterized by an R, the buyer shall pay a premium of 24 % on the hammer price up to € 400,000 and 20 % on the surpassing amount; onto this (hammer price and premium) the statutory VAT of 19 % will be added (regular scheme). Exports to third (i.e. non-EU) countries will be exempt from VAT, and so will be exports made by companies from other EU member states if they state their VAT identification number. For original works of art, whose authors are either still alive or died after 31.12.1948, a charge of 1.8 % on the hammer price will be levied for the droit de suite. The maximum charge is € 12,500. If a buyer exports an object to a third country personally, the VAT will be refunded, as soon as Lempertz receives the export and import papers. All invoices issued on the day of auction or soon after remain under provision.

10. Successful bidders attending the auction in person shall forthwith upon the purchase pay to Lempertz the final price (hammer price plus premium and VAT) in Euro. Payments by foreign buyers who have bid in writing or by proxy shall also be due forthwith upon the purchase, but will not be deemed to have been delayed if received within ten days of the invoice date. Bank transfers are to be exclusively in Euros. The request for an alteration of an auction invoice to a person other than the bidder has to be made immediately after the auction. Lempertz however reserves the right to refuse such a request if it is deemed appropriate.

11. In the case of payment default, Lempertz will charge 1% interest on the outstanding amount of the gross price per month.. If the buyer defaults in payment, Lempertz may at its discretion insist on performance of the purchase contract or, after allowing a period of grace, claim damages for non-performance. In the latter case, Lempertz may determine the amount of the damages by putting the lot or lots up for auction again, in which case the defaulting buyer will bear the amount of any reduction in the proceeds compared with the earlier auction, plus the cost of resale, including the premium.

12. Buyers must take charge of their purchases immediately after the auction. Once a lot has been sold, the auctioneer is liable only for wilful intent or gross negligence. Lots will not, however, be surrendered to buyers until full payment has been received. Without exception, shipment will be at the expense and risk of the buyer. Purchases which are not collected within four weeks after the auction may be stored and insured by Lempertz on behalf of the buyer and at its expense in the premises of a freight agent. If Lempertz stores such items itself, it will charge 1 % of the hammer price for insurance and storage costs.

13. As far as this can be agreed, the place of performance and jurisdiction is Cologne. German law applies; the German law for the protection of cultural goods applies; the provisions of the United Nations Convention on Contracts for the International Sale of Goods (CISG) are not applicable. Should any provision herein be wholly or partially ineffective, this will not affect the validity of the remaining provisions.

Henrik Hanstein, sworn public auctioneer
Takuro Ito, Kilian Jay von Seldeneck, auctioneers

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